An exhibition dealing with new forms of resistance.

When Alain Guiraudie invited me to co-curate an exhibition at the Paul-Dupuy Museum with him for Le Nouveau Printemps, I used as my starting point his vision at the edge of worlds and temporalities, and his singular way of creating hazy zones in language, which call on the anarchy of reality, as well as that of dreams, fantasies and legends, with as much bleakness as humor and joy.

I looked close by for men and women whom I see as acting, in thought and in form, to produce intermediary things, undecidable landscapes. In the hope of turning this group of artists, who often share a glance or a sidewalk, into a sort of ephemeral radical movement, the precarious, diffracted picture of a community without community.

The exhibition scenography has been conceived like a music score by artist and musician Julien Perez (born 1986), whose compositions play with the codes of pop art, surrealism and fantasy.

The sculptures of Mathis Altmann (born 1987) are so many assemblages of visual elements, sounds, textures and waste, evoking late capitalism's feelings of exacerbation or exhaustion. 

The hybrid landscapes of Loucia Carlier (born 1992), makeshift bas-reliefs, maybe models or borrowings, attest to an affected, dystopian, strange and satirical vision.

The ultra-colorful sculptures and paintings of Renaud Jerez (born 1982) are a playground for forces of degradation, accumulation, saturation and satire.

Somewhere between painting, performance and pottery, Matthew Lutz-Kinoy (born 1984) creates a universe in perpetual transformation, where different methods of production, experiences and tales of emancipation coexist.

The photographic sculptures of Lucie Stahl (born 1977) manifest themselves as scanners gone mad, encoding practically everything, at once subjects and objects of world-machine future.

Stéphanie Moisdon

With the support of the Swiss Cultural Center. On Tour in Toulouse.